The construction of a work is the arrangement of its parts is a term. Construction of the work

COMPOSITION OF LITERARY AND ARTISTIC WORKS. TRADITIONAL COMPOSITIONAL TECHNIQUES. DEFAULT / RECOGNITION, "MINUS" - RECEPTION, CO- AND CONTRADICTIONS. INSTALLATION.

Composition literary work- this is the mutual correlation and arrangement of units of the depicted and artistic and speech means. The composition realizes the unity and integrity of artistic creations. The foundation of the composition is the orderliness of the fictional reality depicted by the writer.

Elements and levels of composition:

• plot (in the understanding of the formalists - artistically processed events);
• system of characters (their relationship to each other);
• narrative composition (change of narrators and point of view);
• composition of details (correlation of details);
• the ratio of narrative and description elements (portraits, landscapes, interiors, etc.)

Traditional compositional techniques:

• repetitions and variations. They serve to highlight and accentuate the most significant moments and links of the subject-speech fabric of the work. Direct repetitions not only dominated the historically early song lyrics, but also constituted its essence. Variations are altered repetitions (description of the squirrel in Pushkin's "The Tale of Tsar Saltan"). Strengthening the repetition is called gradation (the increasing claims of the old woman in Pushkin's "The Tale of the Fisherman and the Fish"). Repetitions also include anaphores (monotony) and epiphores (repeating endings of stanzas);
• co- and opposition. At the origins of this technique is figurative parallelism developed by Veselovsky. It is based on the conjugation of natural phenomena with human reality ("Creeps and winds / Silk grass in the meadow / Kisses, has mercy / Michael his wife"). For example, Chekhov's plays are based on comparisons of similarities, where the general life drama of the depicted environment prevails, where there are no completely right or completely guilty. Contrasts take place in fairy tales (the hero is a pest), in Griboyedov's Woe from Wit between Chatsky and 25 Fools, etc .;
• “Silence / recognition, minus-trick. The defaults are outside the scope of the detailed image. They make the text more compact, activate the imagination and increase the reader's interest in what is depicted, sometimes intriguing him. In a number of cases, omissions are followed by clarification and direct detection of the hitherto hidden from the reader and / or the hero himself - what is also called recognition by Aristotle. Recognitions can complete a re-created series of events, as, for example, in the tragedy of Sophocles "Oedipus the king." But omissions may not be accompanied by recognitions, remaining gaps in the fabric of the work, artistically significant misunderstandings - minus devices.
• installation. In literary criticism, montage is the fixation of juxtapositions and contrasts that are not dictated by the logic of the depicted, but directly capture the author's train of thought and associations. A composition with such an active aspect is called editing. Spatio-temporal events and the characters themselves in this case are weakly or illogically connected, but everything depicted as a whole expresses the energy of the author's thought, his association. Editing beginning one way or another exists where there are inserted stories ("The Tale of Captain Kopeikin" in " Dead souls»), lyrical digressions("Eugene Onegin"), chronological rearrangements ("A Hero of Our Time"). The editing structure corresponds to the vision of the world, which is versatile and wide.

ROLE AND SIGNIFICANCE OF ARTISTIC DETAILS IN A LITERARY WORK. RELATIONSHIP OF PARTS AS A COMPOSITIONAL RECEPTION.

An artistic detail is an expressive detail in a work that carries a significant semantic, ideological and emotional load. The figurative form of a literary work contains three sides: a system of details of subject depiction, a system compositional techniques and speech structure. TO artistic detail usually include subject details - life, landscape, portrait.

Detailing objective world in literature is inevitable, since only with the help of details can the author recreate an object in all its features, evoking the necessary associations in the reader with details. Detailing is not decoration, but the essence of the image. The addition of mentally missing elements by the reader is called concretization (for example, the imagination of a certain human image, an image that is not given by the author with exhaustive certainty).

According to Andrey Borisovich Esin, there are three large groups of parts:

• plot;
• descriptive;
• psychological.

The predominance of one type or another gives rise to the corresponding dominant property of the style: plot ("Taras and Bulba"), descriptiveness (" Dead Souls"), Psychologism (" Crime and Punishment).

Details can both "agree with each other" and oppose each other, "argue" with each other. Efim Semenovich Dobin proposed a typology of details based on the criterion: singularity / multitude. He defined the ratio of detail and detail as follows: detail tends to singularity, detail acts in a multitude.

Dobin believes that by repeating and acquiring additional meanings, the detail grows into a symbol, and the detail is closer to the sign.

DESCRIPTIVE ELEMENTS OF THE COMPOSITION. PORTRAIT. LANDSCAPE. INTERIOR.

It is customary to refer to the descriptive elements of the composition as a landscape, an interior, a portrait, as well as characteristics of heroes, a story about their repeated, regularly repeated actions, habits (for example, a description of the usual daily routine of heroes in Gogol's "The Tale of How Ivan Ivanovich Quarreled with Ivan Nikiforovich" ). The main criterion for a descriptive element of a composition is its static nature.

Portrait. A portrait of a character is a description of his appearance: bodily, natural, and in particular age-related properties (facial and figure features, hair color), as well as everything in the appearance of a person that is formed by the social environment, cultural tradition, individual initiative (clothing and jewelry, hairstyle and cosmetics).

For traditional high genres, idealizing portraits are characteristic (for example, the Pole in Taras Bulba). The portraits in works of a comical, comedy-farcical nature had a completely different character, where the center of the portrait is the grotesque (transforming, leading to some ugliness, incongruity) presentation of the human body.

The role of a portrait in a work differs depending on the type and genre of literature. In the drama, the author is limited to indicating the age and general characteristics given in the remarks. In the lyrics, the technique of replacing the description of the exterior with an impression from it is used as much as possible. Such a replacement is often accompanied by the use of the epithets "beautiful", "adorable", "charming", "captivating", "incomparable". Comparisons and metaphors based on the abundance of nature are very actively used here (slender stature - cypress, girl - birch, fearful doe). Precious stones and metals are used to convey the shine and color of eyes, lips, hair. Comparisons with the sun, moon, gods are characteristic. In the epic, the appearance and behavior of the character are associated with his character. Early epic genres, For example heroic tales, are full of exaggerated examples of character and appearance - ideal courage, extraordinary physical strength. The behavior is also appropriate - the majesty of postures and gestures, the solemnity of unhurried speech.

In creating a portrait up to late XVIII v. the leading trend remained its conventional form, the prevalence of the general over the particular. V literature XIX v. Two main types of portrait can be distinguished: expositional (tending to static) and dynamic (passing into the whole narrative).

The exposition portrait is based on a detailed listing of details of the face, figure, clothing, individual gestures and other features of appearance. It is given from the perspective of a narrator interested in specificity. external appearance representatives of some social community. A more complex modification of such a portrait is psychological picture, where features of appearance prevail, testifying to the properties of character and inner world (not laughing eyes of Pechorin).

A dynamic portrait, instead of a detailed listing of outward features, presupposes a short, expressive detail that arises in the course of the narrative (the images of the heroes in The Queen of Spades).

Landscape. Landscape is most correct to understand the description of any open space. outside world... Landscape is not an obligatory component of the artistic world, which emphasizes the conventionality of the latter, since landscapes are everywhere in the reality that surrounds us. The landscape carries several essential functions:

• designation of the place and time of action. It is with the help of the landscape that the reader can clearly imagine where and when events take place. At the same time, a landscape is not a dry indication of the space-time parameters of a work, but an artistic description using a figurative, poetic language;
• plot motivation. Natural, and, in particular, meteorological processes can direct the plot in one direction or another, mainly if this plot is chronicle (with the primacy of events that do not depend on the will of the characters). The landscape also occupies a lot of place in animalistic literature (for example, the works of Bianchi);
• form of psychologism. The landscape creates a psychological mood for the perception of the text, helps to reveal the inner state of the characters (for example, the role of the landscape in the sentimental "Poor Liza");
• form of presence of the author. The author can show his patriotic feelings by giving the landscape national identity(for example, Yesenin's poetry).

The landscape has its own characteristics in different types of literature. In the drama, he is presented very sparingly. In the lyrics, he is emphatically expressive, often symbolic: personifications, metaphors and other tropes are widely used. In the epic, there are many more possibilities for introducing the landscape.

The literary landscape has a very ramified typology. Distinguish between rural and urban, steppe, marine, forest, mountain, northern and southern, exotic - opposed to flora and fauna native land the author.

Interior. The interior, in contrast to the landscape, is an image of the interior, a description of a closed space. Used mainly for social and psychological characteristics characters, demonstrates their living conditions (Raskolnikov's room).

"NARRATIVE" COMPOSITION. THE NARRATOR, NARRATOR AND THEIR RELATIONSHIP WITH THE AUTHOR. "POINT OF VIEW" AS A CATEGORY OF NARRATIVE COMPOSITION.

The narrator is the one who informs the reader about the events and actions of the characters, fixes the course of time, depicts the appearance actors and the setting of the action, analyzes the inner state of the hero and the motives of his behavior, characterizes him human type, while not being either a participant in the events, or an object of the image for any of the characters. The narrator is not a person, but a function. Or, as Thomas Mann put it, "the weightless, disembodied and omnipresent spirit of storytelling." But the function of the narrator can be attached to the character, provided that the character as a narrator does not coincide at all with him as with the protagonist. So, for example, the narrator Grinev in “ Captain's daughter"- by no means a definite person, in contrast to Grinev - the actor. Grinev's character's outlook on what is happening is limited by the conditions of place and time, including the characteristics of age and development; much deeper is his point of view as a narrator.

In contrast to the narrator, the narrator is entirely within the depicted reality. If no one sees the narrator inside the depicted world and does not assume the possibility of his existence, then the narrator will certainly enter the horizons of either the narrator or the characters - listeners of the story. The narrator is the subject of the image associated with a certain socio-cultural environment, from the position of which he depicts other characters. The narrator, on the other hand, is close in his outlook to the author-creator.

V broad sense narration - the totality of those statements of speech subjects (narrator, narrator, image of the author) that perform the functions of "mediation" between the depicted world and the reader - the addressee of the entire work as a single artistic statement.

In narrower and more precise, and also more traditional meaning, narration - a set of all speech fragments of a work containing a variety of messages: about the events and actions of the characters; about the spatial and temporal conditions in which the plot unfolds; about the relationship between the actors and the motives of their behavior, etc.

Despite the popularity of the term "point of view", its definition has raised and raises many questions. Let us consider two approaches to the classification of this concept - by B. A. Uspensky and by B. O. Korman.

Ouspensky speaks of:

• ideological point of view, understanding by it a vision of an object in the light of a certain perception of the world, which is transmitted different ways testifying to his individual and social position;
• the phraseological point of view, understanding by it the use of the author to describe different heroes a different language or, in general, elements of someone else's or substituted speech when describing;
• to the spatio-temporal point of view, meaning by it the place of the narrator, which is fixed and determined in spatio-temporal coordinates, which may coincide with the place of the character;
• point of view in terms of psychology, understanding by it the difference between the two possibilities for the author: to refer to one or another individual perception or to strive to describe events objectively, based on the facts known to him. The first, subjective, possibility, according to Uspensky, is the psychological one.

Korman is closest to Ouspensky regarding a phraseological point of view, but he:

• delimits the spatial (physical) and temporal (position in time) points of view;
• divides the ideological and emotional point of view into direct-evaluative (open, lying on the surface of the text, the ratio of the subject of consciousness and the object of consciousness) and indirectly evaluative (the author's assessment, not expressed in words that have obvious evaluative meaning).

The disadvantage of Corman's approach is the absence of a "plan of psychology" in his system.

So, the point of view in a literary work is the position of the observer (narrator, narrator, character) in the depicted world (in time, space, in the socio-ideological and linguistic environment), which, on the one hand, determines his outlook - both in terms of volume ( field of view, degree of awareness, level of understanding), and in terms of assessing the perceived; on the other hand, it expresses the author's assessment of this subject and his horizons.

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Composition of a work of art

Composition- this is the construction of all elements and parts of a work of art in accordance with the author's intention (in a certain proportion, sequence; the figurative system of characters, space and time, an event series in the plot are formed compositionally).

Compositional and plot parts of a literary work

Prologue- what led to the emergence of the plot, previous events (not in all works).
Exposition- designation of the original space, time, heroes.
Tie- events that give the development of the plot.
Action development- the development of the plot from the beginning to the climax.
Climax- moment highest voltage plot action, after which it moves to a denouement.
Interchange- termination of action in a given conflict direction, when contradictions are resolved or removed.
Epilogue- "announcement" of further events, summing up.

Composite elements

TO compositional elements include epigraphs, dedications, prologues, epilogues, parts, chapters, acts, phenomena, scenes, prefaces and afterwords of "publishers" (created by the author's fantasy of extra-plot images), dialogues, monologues, episodes, inserted stories and episodes, letters, songs (Oblomov's Dream in Goncharov's novel Oblomov, letters from Tatyana to Onegin and Onegin to Tatyana in Pushkin's novel “Eugene Onegin”); all artistic descriptions(portraits, landscapes, interiors).

Compositional techniques

Repeat (refrain)- the use of the same elements (parts) of the text (in poems - the same verses):
Keep me, my talisman,
Keep me safe in the days of persecution
In days of remorse, excitement:
You were given to me on the day of sorrow.
When the ocean rises
Around me the shafts are roaring,
When the clouds come like a thunderstorm -
Keep me, my talisman ...
(A. Pushkin "Keep me, my talisman")

Depending on the position, frequency of appearance and autonomy, the following compositional techniques are distinguished:
Anaphora- repeat at the beginning of a line:
Past the lists, temples,
past temples and bars,
past chic cemeteries,
past the big bazaars ...
(I. Brodsky "Pilgrims")

Epiphora- repeat at the end of a line:
My horse do not touch the land,
Do not touch my forehead,
Don't touch my sigh,
The rider is a horse, the finger is the palm.
(M. Tsvetaeva "Khansky full")

Simplok- the subsequent part of the work begins in the same way as the previous one (as a rule, it is found in folklore works or stylizations):
He fell on the cold snow
On the cold snow, like a pine tree
(M.Yu. Lermontov "Song of Tsar Ivan Vasilyevich ...")

Antithesis- opposition (works at all levels of text from symbol to character):
I swear on the first day of creation,
I swear on his last day.
(M.Yu. Lermontov "Demon")
They got along. Wave and stone
Poems and prose, ice and fire ...
(A.S. Pushkin "Eugene Onegin")

Compositional techniques related with time shifts(alignment of temporary layers, retro leap, inset):

Retardation- stretching a unit of time, deceleration, braking.

Retrospection- the return of the action to the past, when the reasons for what was happening in currently narration (story about Pavel Petrovich Kirsanov - IS Turgenev "Fathers and Sons"; story about Asya's childhood - IS Turgenev "Asya").

Change of "points of view"- narration of one event from the point of view different characters, character and narrator (M.Yu. Lermontov "A Hero of Our Time", FM Dostoevsky "Poor People").

Parallelism- the location of elements of speech that are identical or similar in grammatical and semantic structure in adjacent parts of the text. Parallel elements can be sentences, their parts, phrases, words.
Your mind is as deep as the sea
Your spirit is high that mountains
(V. Bryusov "Chinese Poems")
An example of compositional parallelism in a prose text is the work of N.V. Gogol "Nevsky Prospect".

The main types of composition

1. Linear composition: natural time sequence.
2. Inversion (retrospective) composition: reverse chronological order.
3. Annular composition: repetition of the opening moment in the ending of the piece.
4. Concentric composition: plot spiral, repetition of similar events in the course of the development of the action.
5. Mirrored composition: the combination of repetition and opposition techniques, as a result of which the initial and end images are repeated exactly the opposite.

STYLE DOMINANTS

In the text of a work there are always some points at which the style "comes out". Such points serve as a kind of stylistic "tuning fork", tune the reader to a certain "aesthetic wave" ... Style is presented as "a kind of surface on which a unique trace has emerged, a form that betrays the presence of one guiding force by its structure." (P.V. Palievsky)

Here it comes about STYLE DOMINANTS, which in the work perform an organizing role. That is, they, the dominants, must be subordinate to all techniques and elements.

Style dominants - it:

Plot, descriptiveness and psychologism,

Conventional and lifelike

Monologism and contradiction,

Verse and prose

Nominative and rhetorical,

- simple and complex types of composition.

COMPOSITION -(from Latin compositio - composing, binding)

The construction of a work of art, due to its content, nature, purpose and largely determines its perception.

Composition is the most important, organizing element of an artistic form, giving a work of unity and integrity, subordinating its components to each other and to the whole.

V fiction composition - a motivated arrangement of the components of a literary work.

A component (UNIT OF COMPOSITION) is considered to be a "segment" "of a work, in which one image method (characterization, dialogue, etc.) or a single point of view (author, narrator, one of the heroes) on what is depicted is preserved.

The interposition and interaction of these "segments" "form the compositional unity of the work.

Composition is often identified both with a plot, a system of images, and with the structure of a work of art.

In the very general view there are two types of composition - simple and complex.

SIMPLE (linear) composition is reduced only to the unification of parts of the work into a single whole. In this case, there is a direct chronological sequence of events and a single narrative type throughout the entire work.

With a COMPLEX (transformational) composition the order in which the parts are combined reflects a special artistic meaning.

For example, the author does not begin with the exposition, but with some fragment of the climax or even the denouement. Or the narration is conducted as if in two times - the hero "now" and the hero "in the past" (recalls some events that set off what is happening now). Or a double hero is introduced - generally from another galaxy - and the author plays on juxtaposition / opposition of episodes.

In fact, it is difficult to find a pure type of simple composition, as a rule, we are dealing with complex (to one degree or another) compositions.

DIFFERENT ASPECTS OF COMPOSITION:

external composition

system shaped,

character system changing points of view,

parts system,

plot and plot

conflict fiction speech,

off-plot elements

COMPOSITION FORMS:

narration

description

characteristic.

COMPOSITION FORMS AND MEANS:

repeat, amplification, contrast, editing

comparison,

"Close-up" plan, "general" plan,

point of view,

temporary organization of the text.

REFERENCE POINTS OF THE COMPOSITION:

climax, denouement,

strong text positions,

repetitions, oppositions,

twists and turns in the fate of the hero,

spectacular artistic techniques and funds.

The points of greatest reading stress are called COMPOSITION POINTS. These are kind of landmarks that lead the reader through the text, and in them the most obvious ideological issues works.<…>they are the key to understanding the logic of composition and, accordingly, the entire internal logic of the work as a whole .

STRONG POSITIONS OF THE TEXT:

These include the formally separated parts of the text, its end and beginning, including the title, epigraph, prologue, beginning and end of the text, chapter, part (first and last sentence).

MAIN TYPES OF COMPOSITION:

circular, mirrored, linear, default, flashback, free, open, etc.

STORY ELEMENTS:

exposure, tie

action development

(twists and turns)

climax, denouement, epilogue

OUTSIDE ELEMENTS

description (landscape, portrait, interior),

plug-in episodes.

Ticket number 26

1.Poetic vocabulary

2. Epic, drama and lyricism of a work of art.

3. The volume and content of the stylistics of the work.

Poetic vocabulary

P.L.- one of the most important aspects of a literary text; the subject of study of a special section of literary criticism. The study of the lexical composition of a poetic (i.e., artistic) work involves the correlation of the vocabulary used in a separate sample artistic speech any writer, with common vocabulary, that is, used by the writer's contemporaries in various everyday situations. The speech of the society that existed in that historical period, to which the work of the author of the analyzed work belongs, is perceived as a kind of norm, therefore, it is recognized as “natural”. The purpose of the study is to describe the facts of deviation of the individual author's speech from the norms of "natural" speech. The study of the lexical composition of the writer's speech (the so-called "writer's dictionary") in this case turns out to be a particular type of such stylistic analysis... When studying the "writer's dictionary", attention is paid to two types of deviations from "natural" speech: the use of lexical elements that are rarely used in "natural", everyday circumstances, that is, "passive" vocabulary, which includes the following categories of words: archaisms, neologisms, barbarisms, clericalisms, professionalisms, jargon (including argotisms) and vernacular; the use of words that implement figurative (therefore rare) meanings, i.e. tropes. The introduction by the author of the words of both groups into the text determines the figurativeness of the work, therefore, its artistry.

(household vocabulary, business vocabulary, poetic vocabulary etc.)

Poetic vocabulary. Historicisms and archaisms stand out in the archaic vocabulary. Historicisms include words that represent the names of disappeared objects, phenomena, concepts (chain mail, hussar, tax in kind, NEP, october (child of the younger school age, preparing to join the pioneers), NKVDist (employee of the NKVD - People's Commissariat of Internal Affairs), commissar, etc.). Historicisms can be associated with both very distant epochs and events of a relatively recent time, which, however, have already become facts of history ( Soviet authority, party activist, secretary general, politburo). Historicisms do not have synonyms among the words of the active vocabulary, being the only names of the corresponding concepts.

Archaisms are the names of existing things and phenomena, for some reason supplanted by other words belonging to active vocabulary (compare: every day - always, comedian - actor, gold - gold, know - know).

Obsolete words are heterogeneous in origin: among them there are primordially Russian (full, shelom), Old Slavonic (glad, kiss, shrine), borrowed from other languages ​​(abshid - "resignation", voyage - "travel").

Of particular interest in stylistic terms are words of Old Church Slavonic origin, or Slavicisms. A significant part of Slavicisms assimilated on Russian soil and stylistically merged with neutral Russian vocabulary (sweet, captivity, hello), but there are also such Old Church Slavonic words which in modern language are perceived as an echo of a high style and retain its solemn, rhetorical color characteristic of it.

The history of poetic vocabulary associated with ancient symbolism and imagery (the so-called poetisms) is similar to the fate of Slavisms in Russian literature. The names of the gods and heroes of Greek and Roman mythology, special poetic symbols (lyre, ellisium, Parnassus, laurels, myrtles), artistic images antique literature in the first third of XIX v. constituted an integral part of the poetic dictionary. Poetic vocabulary, like Slavism, reinforced the opposition of sublime, romantically colored speech - everyday, prosaic speech. However, these traditional means of poetic vocabulary were not used for long in fiction. Already the successors of A.S. Pushkin's poetics are archaized. Writers often refer to obsolete words as expressive means artistic speech. An interesting history of the use of Old Church Slavonic vocabulary in Russian fiction, especially in poetry. Stylistic Slavicisms made up a significant part of the poetic vocabulary in the works of writers of the first third of the 19th century. Poets found in this vocabulary the source of the sublimely romantic and "sweet" sound of speech. Slavicisms, which have consonant variants in the Russian language, primarily incomplete ones, were shorter than Russian words by one syllable and were used in the 18th-19th centuries. on the rights of "poetic liberties": poets could choose from two words the one that corresponded to the rhythmic structure of speech (I will sigh, and my languid voice, like a harp's voice, will die quietly in the air - Bat.). Over time, the tradition of "poetic liberties" is overcome, but outdated vocabulary attracts poets and writers as a powerful means of expression.

Obsolete words perform a variety of stylistic functions in artistic speech. Archaisms and historicisms are used to recreate the flavor of distant times. In this function, they were used, for example, by A.N. Tolstoy:

“The land of ottich and grandfather is those banks of deep rivers and forest glades, where our ancestor came to live forever. (...) he fenced off his dwelling with a tynom and looked along the path of the sun into the distant centuries.

And he imagined a lot - hard and difficult times: Igor's red shields in the Polovtsian steppes, and the groans of the Russians on Kalka, and peasant spears installed under Dmitry's banners on the Kulikovo field, and the ice drenched in blood Lake Peipsi, and the Terrible Tsar, who pushed the single, henceforth indestructible, boundaries of the earth from Siberia to the Varangian Sea ... ".

Archaisms, especially Slavicisms, give speech a sublime, solemn sound. Old Slavonic vocabulary acted in this function even in Old Russian literature... In the poetic speech of the XIX century. with the high Old Slavonic vocabulary, the Old Russianisms stylistically equaled, which also began to be used to create the pathos of artistic speech. The high, solemn sound of obsolete words is also appreciated by the writers of the 20th century. During the Great Patriotic War I.G. Ehrenburg wrote: “After repelling the blows of the predatory Germany, she (the Red Army) saved not only the freedom of our Motherland, it saved the freedom of the world. This is the guarantee of the triumph of the ideas of brotherhood and humanity, and I see a world in the distance, enlightened by grief, in which goodness will shine. Our people showed their military virtues ... "

Outdated vocabulary can take on an ironic connotation. For example: Which parent does not dream of an intelligent, well-balanced child who grasps everything literally on the fly. But attempts to turn your child into a "miracle" catastrophically often end in failure (from gas). The ironic rethinking of obsolete words is often facilitated by the parodic use of high-style elements. In a parody-ironic function obsolete words often appear in feuilletons, pamphlets, humorous notes. Let's refer to an example from newspaper publication in preparation for the day of the inauguration of the president (August 1996).

There are three levels of literary work:

Subject visualization is vital material

Composition - organizing this material

Artistic language - the speech structure of a literary work, at all four levels artistic language: phonics, vocabulary, semantics, syntax.

Each of these layers has its own complex hierarchy.

The apparent complexity of a literary work is created by the hard work of the writer at all three levels of the artistic whole.

Let's get acquainted with several definitions of this concept and its various classifications, when the composition of the text is revealed according to different signs and indicators.

A literary text is a communicative, structural and semantic unity, which is manifested in its composition. That is, it is the unity of communication - structure - and meaning.

The composition of a literary text is “mutual correlation and location units of depicted and artistic speech means ". The units of what is depicted here mean: theme, problem, idea, characters, all sides of the depicted external and internal world. Artistic and speech means are the entire figurative system of the language at the level of its 4 layers.

Composition is the construction of a work, which determines its integrity, completeness and unity.

Composition - represents "System connections " all its elements. This system also has an independent meaningfulness, which should be revealed in the process philological analysis text.

Composition, either structure or architectonics is the construction of a work of art.

Composition is an element of the form of a work of art.

Composition contributes to the creation of a work as an artistic whole.

The composition unites all the components and subordinates them to the idea, the concept of the work. Moreover, this connection is so close that it is impossible to remove or rearrange any component from the composition.

Types of compositional organization of the work:

Subject view - that is, plot (epic, lyrics, drama)

Non-plot view - non-fictional (in lyrics, in epic and drama created by creative method modernism and postmodernism)

The plot view of the compositional organization of the work is of two types:

Eventful (in epic and drama)

Descriptive (in lyrics)

Let's consider the first type of plot composition - event composition. It has three forms:

Chronological form - events develop in a straight line of time movement, the natural time sequence is not disturbed, there may be time intervals between events

The retrospective form is a deviation from the natural chronological sequence, a violation of the linear order of the passage of events in life, interruption with the memories of the heroes or the author, acquainting the reader with the prehistory of events and the life of the characters (Bunin, "Light Breathing")

Free or montage form - a significant violation of the spatio-temporal and cause-and-effect relationships between events; the connection between individual episodes is associative-emotional, not logical-semantic ("A Hero of Our Time", "The Process" by Kafka and other works of modernism and postmodernism)

Consider the second type of composition - descriptive:

It is present in lyric works, they basically lack a clearly limited and coherently developed action, experiences are highlighted lyric hero or a character, and the whole composition obeys the goals of his image, this is a description of thoughts, impressions, feelings, pictures, inspired by the experiences of the lyric hero.

The composition is external and internal.

External composition(architectonics): chapters, parts, sections, paragraphs, books, volumes, their arrangement may be different depending on the methods of plot creation chosen by the author.

External composition- This is the division of the text, characterized by continuity, into discrete units. Composition is therefore a manifestation of significant discontinuity in continuity.

External composition: the boundaries of each compositional unit highlighted in the text are clearly defined, defined by the author (chapters, chapters, sections, parts, epilogues, phenomena in the drama, etc.), this organizes and directs the reader's perception. The architectonics of the text serves as a way of "portioning" meaning; with the help of ... compositional units, the author indicates to the reader the unification, or, conversely, the dismemberment of the elements of the text (and hence its content).

External composition: no less significant is the lack of articulation of the text or its expanded fragments: this emphasizes the integrity of the spatial continuum, the fundamental non-discreteness of the organization of the narrative, the non-differentiation, fluidity of the narrator's or character's worldview (for example, in the “stream of consciousness” literature).

Internal composition : this is a composition (construction, arrangement) of images - characters, events, setting of action, landscapes, interiors, etc.

Internal(meaningful) composition is determined by the system of character images, the features of the conflict and the originality of the plot.

Not to be confused: the plot has the elements plot, the composition has tricks(internal composition) and parts(external composition) composition.

The composition includes, in its construction, both all the elements of the plot - plot elements, as well as extra-plot elements.

Internal composition techniques:

Prologue (often referred to as the plot)

Epilogue (often referred to as the plot)

Monologue

Character portraits

Interiors

Landscapes

Off-plot elements in the composition

Classification of compositional techniques for the selection of individual elements:

Each compositional unit is characterized by nominating techniques that provide emphasis the most important meanings of the text and activate the reader's attention. This:

geography: various graphic highlights,

repetitions: repetitions of language units of different levels,

strengthening: strong positions of the text or its compositional part - positions of advancement associated with establishing a hierarchy of meanings, focusing attention on the most important, strengthening emotionality and aesthetic effect, establishing meaningful connections between adjacent and distant elements belonging to the same and different levels, ensuring the coherence of the text and its memorability. The strong positions of the text traditionally include titles, epigraphs, beginningandthe end works (parts, chapters, chapters). With their help, the author emphasizes the structural elements that are most significant for understanding the work and at the same time determines the main "semantic milestones" of a particular compositional part (the text as a whole).

Widespread in Russian literature of the late XX century. editing and collage techniques, on the one hand, led to an increase in the fragmentariness of the text, on the other, it opened up the possibility of new combinations of “semantic plans”.

Composition in terms of its coherence

In the peculiarities of the architectonics of the text, such an important feature of it manifests itself as connectivity. Sections (parts) of the text selected as a result of articulation relate to each other, "concatenate" on the basis of common elements. There are two types of connectivity: cohesion and coherence (terms proposed by V. Dressler)

Cohesion (from Lat. - "to be connected"), or local connectivity, is a linear type of connectivity, expressed formally, mainly by linguistic means. It is based on pronominal substitution, lexical repetitions, the presence of conjunctions, the correlation of grammatical forms, etc.

Coherence(from lat. - "Concatenation"), or global connectivity, - connectivity, nonlinear type, combining elements of different levels of the text (for example, the title, epigraph, "text in the text" and the main text, etc.). The most important means of creating coherence are repetitions (primarily of words with common semantic components) and parallelism.

Semantic chains appear in a literary text - rows of words with common semes, the interaction of which gives rise to new semantic connections and relationships, as well as "increments of meaning."

Any literary text is permeated with semantic echoes, or repetitions. Words related on this basis can take different positions: located at the beginning and at the end of the text (circular semantic composition), symmetrically, form a gradation series, etc.

Consideration of semantic composition is a necessary stage in philological analysis. It is especially important for the analysis of "plotless" texts, texts with weakened cause-and-effect relationships of components, texts saturated with complex images. Identifying semantic chains in them and establishing their connections is the key to interpreting the work.

Off-plot elements

Plug-in episodes

Lyrical digressions,

Artistic advance,

Artistic framing,

Dedication,

Epigraph,

Heading

Insert episodes- these are parts of the narrative that are not directly related to the course of the plot, events that are only associatively connected and are remembered in connection with the current events of the work ("The Tale of Captain Kopeikin" in "Dead Souls")

Lyrical digressions- are lyrical, philosophical, publicistic, express the thoughts and feelings of the writer directly, in the direct author's word, reflect the author's position, the attitude of the writer to the characters, some elements of the theme, problems, ideas of the work (in Dead Souls - about youth and old age , about Russia as a bird - a troika)

Artistic advance - the image of scenes that are ahead of the further course of events (

Artistic framing - the scenes with which a work of art begins and ends, most often it is one and the same scene, given in development, and creating ring composition("The Fate of a Man" by M. Sholokhov)

Dedication - a short description or lyric work that has a specific addressee, to whom the work is addressed and dedicated

Epigraph - an aphorism or a quote from another famous work or folklore, located in front of the entire text or in front of its individual parts (proverb in "The Captain's Daughter")

Heading- the title of the work, which always contains the theme, problem or idea of ​​the work, a very short formulation that has deep expressiveness, imagery or symbolism.

The object of literary analysis in the study of composition I can be different aspects compositions:

1) architectonics, or external composition of the text, - dividing it into certain parts (chapters, sub-chapters, paragraphs, stanzas, etc.), their sequence and relationship;

2) the system of images of the characters of a work of art;

3) change of points of view in the structure of the text; so, according to B.A. Uspensky, it is the problem of the point of view that constitutes "The central problem of composition»; consideration in text structure different points vision in relation to the architectonics of the work allows to reveal the dynamics of the development of artistic content;

4) the system of details presented in the text (composition of details); their analysis makes it possible to reveal the ways of deepening the depicted: as I.A. Goncharov, “details that are presented in a distant perspective of a general plan fragmentarily and separately”, in the context of the whole “merge in a general structure ... as if thin invisible threads or, perhaps, magnetic currents were acting”;

5) the correlation with each other and with the rest of the text components of its extra-plot elements (inserted short stories, short stories, lyrical digressions, "scenes on the stage" in the drama).

Compositional analysis thus takes into account different aspects of the text.

The term "composition" in modern philology turns out to be very ambiguous, which complicates its use.

To analyze the composition of a literary text, you must be able to:

To highlight in its structure repetitions that are significant for the interpretation of the work, which serve as the basis for cohesion and coherence;

Reveal semantic overlaps in parts of the text;

Highlight markers - separators of different compositional parts of the work;

To correlate the features of the division of the text with its content and to determine the role of discrete (separate parts) compositional units in the whole;

Establish a connection between the narrative structure of the text as its “deep compositional structure” (BA Uspensky) with its external composition.

Define all the methods of external and internal composition in F. Tyutchev's poem "Silentium" (namely: parts of the composition, plot type - non-plot, event-related - descriptive, seeing individual elements, the type of their coherence, - NB